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Leo Reiffenstein

Austria XIX Century - 
REIFFENSTEIN Leo Inneres Der Kirche Zu Mondsee

Palais Dorotheum
Apr 21, 2016
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Artworks in Arcadja
9

Some works of Leo Reiffenstein

Extracted between 9 works in the catalog of Arcadja
Leo Reiffenstein - Inneres Der Kirche Zu Mondsee

Leo Reiffenstein - Inneres Der Kirche Zu Mondsee

Original
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Gross Price
Lot number: 1324
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Description:
Leo Reiffenstein
(born Vienna in 1856)„Inneres der Kirche zu Mondsee\“ (Interior of the Church atMondsee), on the reverse titled, signed and dated Leo Reiffenstein1895 on an exhibition label, various exhibition labels on thereverse, oil on canvas, 96 x 74.5 cm, framed, (Rei)
Künstlerhaus label 1895/2206 confirmed by Mag.Paul Rachler.Exhibited:Art exhibition in Stettin 1902, Sächsischer Kunstverein in Dresden,no. 933.Compare:Friedrich von Boetticher, Malerwerke des 19. Jahrhunderts, Hofheimam Taunus 1979, Vol. II, 1, p. 375, no. 11.Leo Reiffenstein, son of a German lithographer, attended the ViennaAcademy from 1871 where he studied under August Eisenmenger. Afterhis training he was employed in Hans Makart\‘s studio. The presentwork originates from the period when he had already been living inhis family\‘s villa at Mondsee for two years. The clear colours andloose brushwork lend a liveliness to the scene, softening theinitial gloomy weight of his historical paintings. At the beginningof his artistic career he was wholly a proponent of historicism,both in terms of his motifs and style of painting. However, hesucceeded in making the transition to a more modern style,dedicating himself primarily to the painting oflandscapes.
Leo Reiffenstein - Portrait Of Gottfried Keller

Leo Reiffenstein - Portrait Of Gottfried Keller

Original 1890
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Lot number: 6589
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Description:
REIFFENSTEIN, LEO
(1856 Vienna 1924)
Portrait of Gottfried Keller. 1890.
Öl auf Leinwand.
Signed and dated lower right: Leo Reiffenstein. 26. III. 1890.
34.8 x 27.3 cm.
REIFFENSTEIN, LEO
(1856 Wien 1924)
Porträt von Gottfried Keller. 1890.
Öl auf Leinwand.
Unten rechts signiert und datiert: Leo Reiffenstein. 26. III. 1890.
34,8 x 27,3 cm.
Leo Reiffenstein - In The Gardens Of Schloss Mirabell In Salzburg

Leo Reiffenstein - In The Gardens Of Schloss Mirabell In Salzburg

Original 1917
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Lot number: 141
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Description:
Leo Reiffenstein
(Vienna 1856-1921) In the Gardens of Schloss Mirabell in Salzburg, signed, dated Leo Reiffenstein 1917, oil on canvas, 80.5 x 130 cm, framed, (Rei)

Leo Reiffenstein, active as a historical and portrait painter, trained at the Vienna Academy under August Eisenmenger and Hans Makart and worked in Vienna. Reiffenstein exhibited several paintings at the fine arts exhibition at the Dorotheum, Vienna, 1908. He was a member of Vienna\’\’\’\’s Künstlerhaus from 1882. (Cf. Heinrich Fuchs, Die österreichischen Maler des 19. Jahrhunderts, Vol. 3, Vienna 1973, p.112.)
Specialist: Mag. Dimitra Reimüller
Leo Reiffenstein - Ein Gastmahl Des Heliogabal (the Roses Of Heliogabalus)

Leo Reiffenstein - Ein Gastmahl Des Heliogabal (the Roses Of Heliogabalus)

Original 1891
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Lot number: 13
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Description:
LOT 13
PROPERTY FROM AN AUSTRIAN PRIVATE COLLECTION
- LEO REIFFENSTEIN
AUSTRIAN, 1856-DIED BEFORE 1934
EIN GASTMAHL DES HELIOGABAL (THE ROSES OF HELIOGABALUS)
100,000—150,000 GBP
measurements
400 by 296cm., 157½ by 116½in.
Description
signed and dated Leo Reiffenstein / 1891 lower right
oil on canvas
PROVENANCE
Studio of the artist (in the Mirabellschloss, Salzburg); thenceby descent to the present owner
EXHIBITED
Vienna, Künstlerhaus Wien, Wiener Jahresausstellung, 1892Salzburg, Mirabellschloss (on extended loan from 1951)Salzburg, Kongresshaus (on extended loan)Salzburg, Museum Carolino Augusteum (on extended loan)
LITERATURE AND REFERENCES
Friedrich von Bötticher, Malerwerke des neunzehntenJahrhunderts, Dresden, 1901, vol. 2, p. 375, no. 10, listed
CATALOGUE NOTE
This monumental composition, painted in 1891 in a virtuosodisplay of technical ability by the Austrian artist LeoReiffenstein and arguably his masterpiece, takes as its theme whatappears initially to be a joyful bacchanal under the rule of theRoman emperor Elagabalus (titled Marcus Aurelius Antoninus asemperor, 218 to 222 AD), or Heliogabalus as he named himself. Elagabalus was murdered by the Praetorian Guard in 222 AD, thevery men who served as the emperor's bodyguard. FollowingElagabalus's death, a propaganda campaign was instituted againsthim by his own aunt, Julia Avitus Mamaea, whose son Alexanderbecame his successor. Many spurious stories circulated aboutElagabalus's life and character, and his narcissistic and decadenteccentricities were almost certainly greatly exaggerated. Thesource of Reiffenstein's chef d'œuvre is the most famous ofthese stories: that Elagabalus, for his own and his companions'amusement, had drowned his assembled guests in a torrent of petalsand flowers that fell from a secret trapdoor above their heads. Placed in the background beneath the arch on the left of thecomposition, a carved stone bust of an emperor looks impassivelyupon the unfolding drama and one can assume that this isReiffenstein's reference to Elagabalus himself. A twisting cascadeof roses falls from a point above the picture plane down upon thesemi-clad men and women much as the rays of the sun to whichElagabalus' other name, Heliogabalus, refers – Heliogabalus was theSyrian sun god that Elagabalus had tried unsuccessfully tointroduce into Rome as the supreme deity. The apparently rapt gazeof the uppermost pair of female figures seems to suggest that thesource of the flowers is a superhuman one, although it wasaltogether more earthly and corrupt: the Emperor's own cunning anddegeneracy. According to Edward Gibbon, the great chronicler of Rome:'Corrupted by his youth, his country, and his fortune, [Elagabalus]abandoned himself to the grossest pleasures with ungoverned fury,and soon found disgust and satiety in the midst of his enjoyments.The inflammatory powers of art were summoned to his aid: theconfused multitude of women, of wines, and of dishes, and thestudied variety of attitude and sauces, served to revive hislanguid appetites. [...] The master of the Roman world affected tocopy the dress and manners of the female sex' (E. Gibbon, TheHistory of the Decline and Fall of the Roman Empire , vol. VI,chapter XL). Because of these stories of Elagabalus' immoral yetaesthetic ways, scenes from his life became popular motifs innineteenth-century art, particularly in the works of those artistsof the Decadent movement. The myth captured so powerfully byReiffenstein in the present work was perhaps most famouslyimmortalized by Sir Lawrence Alma-Tadema in his The Roses ofHeliogabalus of 1888 (fig. 1), but Reiffenstein's version ofthe scene is surely of equal power, with its compositional drama,rich attention to detail and the volumetric depths that hecreates. Fig. 1, Lawrence Alma-Tadema, The Roses of Heliogabalus, 1888,Private Collection052L10101
Studio of the artist (in the Mirabellschloss, Salzburg); thenceby descent to the present owner
Leo Reiffenstein - Dorf Im Salzburger Land

Leo Reiffenstein - Dorf Im Salzburger Land

Original 1907
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Lot number: 631
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